THE CREATIVE WORKSHOPSCraftswomen in the world

The "Creative Workshop" formatThese workshops combine the following elements:

working and training sessions on a specific theme;meeting of persons with similar talents to share

experiences.This UNESCO project, organized as part of a vast programmeto safeguard and promote crafts worldwide (intangibleheritage), periodically brings together a dozen or so crafts-women who use similar techniques and live in the samegeographical region.

Objectives:to safeguard traditional know-how while considering

how it can be adapted and encouraging the sharing oftechniques;

to raise craftswomen's awareness of the notionsof creativity, the search for quality, marketing andcompetition;

to encourage and develop the activities of smallenterprises run by craftswomen and to help them formnetworks;

to draw the attention of local leaders to the importanceof women's role in their country's economic and culturaldevelopment.

By providing them with additional training inrelevant techniques, innovation, the demand forquality and marketing, these workshops also promotethe implementation and development, in the bestconditions, of a project in the sphere of activity chosenby the craftswomen.

Results:The experience of previous workshops shows that theparticipants have drawn positive benefits:

development of their creativity through learning aboutcolour, drawing and painting;

deepening of their professional and technical knowledge;greater confidence in themselves, their potential and their

talent;solidarity for future exchanges and projects.

THE CREATIVE WORKSHOPSCraftswomen in the world

The "Creative Workshop" formatThese workshops combine the following elements:

working and training sessions on a specific theme;meeting of persons with similar talents to share

experiences.This UNESCO project, organized as part of a vast programmeto safeguard and promote crafts worldwide (intangibleheritage), periodically brings together a dozen or so crafts-women who use similar techniques and live in the samegeographical region.

Objectives:to safeguard traditional know-how while considering

how it can be adapted and encouraging the sharing oftechniques;

to raise craftswomen's awareness of the notionsof creativity, the search for quality, marketing andcompetition;

to encourage and develop the activities of smallenterprises run by craftswomen and to help them formnetworks;

to draw the attention of local leaders to the importanceof women's role in their country's economic and culturaldevelopment.

By providing them with additional training inrelevant techniques, innovation, the demand forquality and marketing, these workshops also promotethe implementation and development, in the bestconditions, of a project in the sphere of activity chosenby the craftswomen.

Results:The experience of previous workshops shows that theparticipants have drawn positive benefits:

development of their creativity through learning aboutcolour, drawing and painting;

deepening of their professional and technical knowledge;greater confidence in themselves, their potential and their

talent;solidarity for future exchanges and projects.

Creative workshops 2002-2003

November 2002 - Central Asia - Almaty (Kazakhstan)Regional workshop "Central Asian Handicrafts, Design and Sustainable Development"

Themes

research on natural dyes, links with health and the environmentmaterials and dyes

innovation in the creation and design of product lines adapted tothe international market

management and marketing

June 2003 - Central Africa - Douala (Cameroon)Creative workshop for craftswomen working in the fashion accessories field

Themes

observation of the environment and adaptation of traditionalmaterials and techniques

training in the use of colour, drawing and paintingstudying clientele and marketsfashion design and creationdesigning and making a productsharing of experiences

August 2003 - Latin America and the Caribbean - La Paz (Bolivia)Regional workshop on the use of natural dyes in Latin American textiles

Themes

identifying plant species in countries of the region

improving the quality of traditional and modern textilescreating new product lines

developing an etiquette on the use of dyes

relations with organizations

October 2003 - Europe - Sibiu (Romania)Workshop on textiles and the use of new technologies

Themes

textile and decoration techniquesdefinition of product lines (fashion and decoration)marketing, promotion and distributionwebsite design

legal protection of works

November 2003 - Southern Africa - Maputo (Mozambique)Workshop for craftswomen from Portuguese-speaking African countries

Themesinnovation in creativityestablishing a micro-businessmanagement and marketingparticipation in exhibitions and trade fairs

Forthcoming workshops: 2004/2005

Southern AfricaIndian OceanMediterranean countries

Creative workshops 2002-2003

November 2002 - Central Asia - Almaty (Kazakhstan)Regional workshop "Central Asian Handicrafts, Design and Sustainable Development"

Themes

research on natural dyes, links with health and the environmentmaterials and dyes

innovation in the creation and design of product lines adapted tothe international market

management and marketing

June 2003 - Central Africa - Douala (Cameroon)Creative workshop for craftswomen working in the fashion accessories field

Themes

observation of the environment and adaptation of traditionalmaterials and techniques

training in the use of colour, drawing and paintingstudying clientele and marketsfashion design and creationdesigning and making a productsharing of experiences

August 2003 - Latin America and the Caribbean - La Paz (Bolivia)Regional workshop on the use of natural dyes in Latin American textiles

Themes

identifying plant species in countries of the region

improving the quality of traditional and modern textilescreating new product lines

developing an etiquette on the use of dyes

relations with organizations

October 2003 - Europe - Sibiu (Romania)Workshop on textiles and the use of new technologies

Themes

textile and decoration techniquesdefinition of product lines (fashion and decoration)marketing, promotion and distributionwebsite design

legal protection of works

November 2003 - Southern Africa - Maputo (Mozambique)Workshop for craftswomen from Portuguese-speaking African countries

Themesinnovation in creativityestablishing a micro-businessmanagement and marketingparticipation in exhibitions and trade fairs

Forthcoming workshops: 2004/2005

Southern AfricaIndian OceanMediterranean countries

The craftswomen

Estelle MADANGOLE(Cameroon)Patchwork

y¿<fl

Thérèse KENFACK KANA(Cameroon)Decoration

Géraldine MAIEH NGUA(Cameroon)Crochet, pleating

Adèle NGO NTJABAG(Cameroon)Embroidery

' A^i

Bernadette W. LOSHA ;[Cameroon) ,'

Traditional embroidery

'>%-

Bernardine ALOUNA(Congo)Textile design

Salomé MILAMEN MBAIASSEM(Chad)

Dyeing, soap

Esther NEKARNOJI(Chad)

Embroidery, macramé

\Bernadette MPA6A TCHANDI(Gabon)Fashion design

Frédérique Aya NOBOUI (Gabon). Jewellery

Marie Catherine GANFINA(Congo)Raffia

CRAFTSWOMEN WORKING IN THE FASHION ACCESSORIES FIELDDouala, 23 June - 4 July 2003

This workshop was designed to raise awareness of the creation of jewellery and fashionaccessories, which are complementary and indispensable to the enhancement of thefemale appearance. It was attended by 11 creative craftswomen with experience in thisfield from four Central African countries: Cameroon, Congo, Gabon and Chad.Nine participants had been chosen on the basis of prior applications and two wereselected in Douala before the workshop began. They were each invited to:

present their normal work;compare their personal experiences;use the new contacts, teaching and ideas generated by the workshop to influence

and enrich their future work; '

present, at the end of the session, a completed project so that their work could beevaluated during the workshop.

Work themes

Theory:Examination of preliminary information explaining the spirit and context of the workshop: observing

and taking advantage of the local environment, choosing usable materials and customary and traditionaltechniques.

Presentation of the workplace: organizing workshops, using the most appropriate equipment and tools,searching for and surrounding oneself in sources of inspiration.

Notions of methodology in the creative process: targeting clientele, devising and creating a pattern.Study of marketing strategies: making contacts, keeping files, creating a catalogue, looking for markets,

participating in exhibitions and trade fairs.

Practice:Introduction to design: lines, sketches, free composition.

Discovering and using colour: based on the use of paints, pastels, crayons (Pébéo) and exercises on paperand cloth.

Use of materials and supports found in the environment: raffia, tree bark, animal skins, seeds, beads, etc.

Approach to fashion design and creation: acquisition of information, visualization, observation (magazines,

videos, fashion shows, etc.).

Progress in product design and creation: definition, outlines of models, patterns on paper or cloth.

Exchange of ideas:Meetings with local experts trained in the use of traditional materials and techniques and with fashiondesigners who use them.

. Juliette Ombang, fashion designer who uses raffia

. Jean-Marc Siangue, expert in "n'dop" (indigo-dyed ceremonial material)

. Emmanuel Etolo, expert in "obom" (beaten tree bark)

. Anggy Ha'if, fashion designer working with palm trees and forest materials

Workshop and other visits:Workshop of Aliou Abbo (known as "Papa Ali"), bead artist, jewellery designer.

Penja garden (west), exotic vegetation plantation

CRAFTSWOMEN WORKING IN THE FASHION ACCESSORIES FIELDDouala, 23 June - 4 July 2003

This workshop was designed to raise awareness of the creation of jewellery and fashionaccessories, which are complementary and indispensable to the enhancement of thefemale appearance. It was attended by 11 creative craftswomen with experience in thisfield from four Central African countries: Cameroon, Congo, Gabon and Chad.Nine participants had been chosen on the basis of prior applications and two wereselected in Douala before the workshop began. They were each invited to:

present their normal work;compare their personal experiences;use the new contacts, teaching and ideas generated by the workshop to influence

and enrich their future work; '

present, at the end of the session, a completed project so that their work could beevaluated during the workshop.

Work themes

Theory:Examination of preliminary information explaining the spirit and context of the workshop: observing

and taking advantage of the local environment, choosing usable materials and customary and traditionaltechniques.

Presentation of the workplace: organizing workshops, using the most appropriate equipment and tools,searching for and surrounding oneself in sources of inspiration.

Notions of methodology in the creative process: targeting clientele, devising and creating a pattern.Study of marketing strategies: making contacts, keeping files, creating a catalogue, looking for markets,

participating in exhibitions and trade fairs.

Practice:Introduction to design: lines, sketches, free composition.

Discovering and using colour: based on the use of paints, pastels, crayons (Pébéo) and exercises on paperand cloth.

Use of materials and supports found in the environment: raffia, tree bark, animal skins, seeds, beads, etc.

Approach to fashion design and creation: acquisition of information, visualization, observation (magazines,

videos, fashion shows, etc.).

Progress in product design and creation: definition, outlines of models, patterns on paper or cloth.

Exchange of ideas:Meetings with local experts trained in the use of traditional materials and techniques and with fashiondesigners who use them.

. Juliette Ombang, fashion designer who uses raffia

. Jean-Marc Siangue, expert in "n'dop" (indigo-dyed ceremonial material)

. Emmanuel Etolo, expert in "obom" (beaten tree bark)

. Anggy Ha'if, fashion designer working with palm trees and forest materials

Workshop and other visits:Workshop of Aliou Abbo (known as "Papa Ali"), bead artist, jewellery designer.

Penja garden (west), exotic vegetation plantation

Environmentnatural materials

aninulsidnecalabashescotton

raffiatreebaHcbeada

trwbari!s««dsb«ads

Circuits: Northern Cameroon {Maroua, Mokolo)

West (Foumban, ßafoussam, ^amenda)

Central (Yaounde, [?ouala)

ResearchStudy of nature and the environment, localization andselection of traditional materials and techniques.

The programme of this new workshop included, forthe first time, a preliminary visit designed to help tailorthe workshop themes to the local context:

to reconcile the environment, inspiration and creativityto target the use of local materials and ancient

techniques as a basis for the research and innovationwork to be carried out by the participants

to stimulate participants' imagination and innovativespirit in relation to their usual work.

Selection of materials:This involved finding, collecting and taking back a

selection of materials for use in the practical elementsof the workshop:

leather and animal skins (north)cotton (north)raffia (west and centre)beaten tree bark (west, centre, south)calabashes (north)beads and various seeds (all markets)

Then, during the workshop, the craftswomen were ableto immerse themselves in the rich, original nature ofthis country during a day visit to the exotic gardens ofPenja (West Cameroon).

ResearchStudy of nature and the environment, localization andselection of traditional materials and techniques.

The programme of this new workshop included, forthe first time, a preliminary visit designed to help tailorthe workshop themes to the local context:

to reconcile the environment, inspiration and creativityto target the use of local materials and ancient

techniques as a basis for the research and innovationwork to be carried out by the participants

to stimulate participants' imagination and innovativespirit in relation to their usual work.

Selection of materials:This involved finding, collecting and taking back a

selection of materials for use in the practical elementsof the workshop:

leather and animal skins (north)cotton (north)raffia (west and centre)beaten tree bark (west, centre, south)calabashes (north)beads and various seeds (all markets)

Then, during the workshop, the craftswomen were ableto immerse themselves in the rich, original nature ofthis country during a day visit to the exotic gardens ofPenja (West Cameroon).

Colour, colours&ki!ls and resources

*:.W-i..tt'îf

This workshop benefitedfrom the generous supportof Pébéo, a paint specialistin France and throughoutthe world.

Materials:On the first day, the craftswomen were given a completeset of materials, including paper, crayons, brushes, pastels,paints, scissors, glue, etc., so that they could immediatelytry out a new form of expression which they had nevertried before: handling colour. The products used weremainly from the Pébéo colour ranges.

Techniques:introduction to basic colours and mixtures, based on

the "chromatic circle", study of gradations, shades andcombinations, control of mixtures and selection ofbrushes

use of different paints (opaque and transparent), dyesand printing methods (heliography, stamps, resists) inorder to select appropriate methods for each creation.

Practice: direct expressiontraining in the application of various methods on

different supports (paper, fabric, fibres, animal skins, etc.)research on background and motifstudy of lines, silhouettes, movementstrial compositions

Reactions:Curiously, since they began painting with complete freedomstraight away, the trainees' interest was immediately arousedand their excitement gave them an enthusiasm for thewhole workshop.They quickly learned how to handle the different tools and,giving free rein to their inspiration, expressed their sense ofinvention and innovation.

This workshop benefitedfrom the generous supportof Pébéo, a paint specialistin France and throughoutthe world.

Materials:On the first day, the craftswomen were given a completeset of materials, including paper, crayons, brushes, pastels,paints, scissors, glue, etc., so that they could immediatelytry out a new form of expression which they had nevertried before: handling colour. The products used weremainly from the Pébéo colour ranges.

Techniques:introduction to basic colours and mixtures, based on

the "chromatic circle", study of gradations, shades andcombinations, control of mixtures and selection ofbrushes

use of different paints (opaque and transparent), dyesand printing methods (heliography, stamps, resists) inorder to select appropriate methods for each creation.

Practice: direct expressiontraining in the application of various methods on

different supports (paper, fabric, fibres, animal skins, etc.)research on background and motifstudy of lines, silhouettes, movementstrial compositions

Reactions:Curiously, since they began painting with complete freedomstraight away, the trainees' interest was immediately arousedand their excitement gave them an enthusiasm for thewhole workshop.They quickly learned how to handle the different tools and,giving free rein to their inspiration, expressed their sense ofinvention and innovation.

Jr-i'

mm

CreationCustomers, sketchesand models _

Targeting a clientele:Before starting any project, each participant was asked todefine their typical client according to physical, economicand sociocultural criteria.

Creating a suitable model- after several sketches and outlines, the product shouldcorrespond with the needs, desires and means of theclient.

Implementing the model- in other words, making it from the selected materials,colours and shapes.

New skills and stimulation:As part of this creative workshop on fashion accessories,craftswomen familiar with other ideas and methods(embroidery, patchwork, dyeing, decoration, etc.) wereable to broaden the range of their work by includingnew materials and technologies as well as the impressionsmade on them by the local environment or the work ofthe other craftswomen they met.

They were therefore able to glimpse the possibility ofreaching a larger clientele and penetrating new markets.

Targeting a clientele:Before starting any project, each participant was asked todefine their typical client according to physical, economicand sociocultural criteria.

Creating a suitable model- after several sketches and outlines, the product shouldcorrespond with the needs, desires and means of theclient.

Implementing the model- in other words, making it from the selected materials,colours and shapes.

New skills and stimulation:As part of this creative workshop on fashion accessories,craftswomen familiar with other ideas and methods(embroidery, patchwork, dyeing, decoration, etc.) wereable to broaden the range of their work by includingnew materials and technologies as well as the impressionsmade on them by the local environment or the work ofthe other craftswomen they met.

They were therefore able to glimpse the possibility ofreaching a larger clientele and penetrating new markets.

Knowle¿lge and exchangeTraditional technic^ues,

contemporary shapes

Sharing experiences:

amongst themselves: the meeting of 11 craftswomenfrom different countries and with complementary skillsinevitably stimulated curiosity, admiration and enrichment,with benefits for each participant. Through questionsand answers, participants were able to understand certainproblems as well as their solutions by discussing themtogether;

with local craftsworkers and designers with specificknow-how linked to their heritage:

~ " ndop ": ceremonial textile composition on hand-spun cotton , dyed indigo and then stitched with resistsof raffia to produce a design of traditional motifs.Originally reserved for court occasions and ceremonies(bamiléké), its creation by master craftsmen has becomerare, although the materials and motifs are still used byfashion and decorative designers.Speaker: Jean-Marc Siangue, researcher, n'dop expert

presentation of the materials, technique and use.

~ " obom ": texture of beaten tree bark, particularly fromcertain species of ficus and local shrubs, which has alwaysbeen used for clothing and household linen and is nowpopular with young designers.Speaker: Emmanuel Etolo Eyah, obom expert

presentation, history, transformation and use, thenpractical work with the craftswomen

~ raffia: fibres extracted from young leaves of the raffiapalm (which grows in most regions), traditionally spun onsmall vertical looms. Natural or dyed, they provide aneasily workable textile.Speakers: Juliette Ombang, fashion designer who usesraffia in different forms

Anggy Haïf, designer who works with differentforest materials

~ beads, fruits and seeds: plentiful and varied in allmarkets, they are used in all kinds of traditional ornamentsand continue to enrich jewellery and fashion accessorycollections.

Visit to the workshop of Aliou Abbo (known as "Papa Ali"),bead artist and jewellery designer.

Sharing experiences:

amongst themselves: the meeting of 11 craftswomenfrom different countries and with complementary skillsinevitably stimulated curiosity, admiration and enrichment,with benefits for each participant. Through questionsand answers, participants were able to understand certainproblems as well as their solutions by discussing themtogether;

with local craftsworkers and designers with specificknow-how linked to their heritage:

~ " ndop ": ceremonial textile composition on hand-spun cotton , dyed indigo and then stitched with resistsof raffia to produce a design of traditional motifs.Originally reserved for court occasions and ceremonies(bamiléké), its creation by master craftsmen has becomerare, although the materials and motifs are still used byfashion and decorative designers.Speaker: Jean-Marc Siangue, researcher, n'dop expert

presentation of the materials, technique and use.

~ " obom ": texture of beaten tree bark, particularly fromcertain species of ficus and local shrubs, which has alwaysbeen used for clothing and household linen and is nowpopular with young designers.Speaker: Emmanuel Etolo Eyah, obom expert

presentation, history, transformation and use, thenpractical work with the craftswomen

~ raffia: fibres extracted from young leaves of the raffiapalm (which grows in most regions), traditionally spun onsmall vertical looms. Natural or dyed, they provide aneasily workable textile.Speakers: Juliette Ombang, fashion designer who usesraffia in different forms

Anggy Haïf, designer who works with differentforest materials

~ beads, fruits and seeds: plentiful and varied in allmarkets, they are used in all kinds of traditional ornamentsand continue to enrich jewellery and fashion accessorycollections.

Visit to the workshop of Aliou Abbo (known as "Papa Ali"),bead artist and jewellery designer.

Projects and productsPesign, proposal, realization

Project conception:The aim of this workshop was to teach the craftswomenhow to devise and create a new product using all thematerials and teaching they were given.Their work was supervised and encouraged by the work¬shop leaders.

Proposals and implementation:They were asked:

to choose the basis for their study: materials, support,colours, motifs, assembly and decoration technique;

to find local, original sources of inspiration;to devise their own project, depending on the targeted

clientele and market: work on an ideas notebook,sketches, samples, prototype - and to refine the workuntil the desired effect was achieved;

to produce one or more full-size products to bepresented and exhibited at the end of the workshop.

The majority presented a range of different items, eithercompletely separate or forming part of the same range,usually very different from their previous work.

The workshop concluded with an evaluation of theirwork, which helped them to choose which items toexhibit.

Project conception:The aim of this workshop was to teach the craftswomenhow to devise and create a new product using all thematerials and teaching they were given.Their work was supervised and encouraged by the work¬shop leaders.

Proposals and implementation:They were asked:

to choose the basis for their study: materials, support,colours, motifs, assembly and decoration technique;

to find local, original sources of inspiration;to devise their own project, depending on the targeted

clientele and market: work on an ideas notebook,sketches, samples, prototype - and to refine the workuntil the desired effect was achieved;

to produce one or more full-size products to bepresented and exhibited at the end of the workshop.

The majority presented a range of different items, eithercompletely separate or forming part of the same range,usually very different from their previous work.

The workshop concluded with an evaluation of theirwork, which helped them to choose which items toexhibit.

EVALUATION AND EXHIBITION

Evaluation- by the instructors:each participant was given comments on and an evaluationof their work, based on their notebooks, practical workand finished articles. The instructors offered advice andguidance for their future professional development aswell as plenty of encouragement.- by the participants:each participant presented a verbal report, in whichthey gave their views on the workshop and what theyhad learned, their criticisms and their desires.

Setting up the exhibition- as the final stage of the workshop, a proper exhibitionwas organized with individual stands, teaching thecraftswomen how to present their work in display cabinets,at exhibitions and trade fairs. With basic supervision bythe instructors, they each devised their own area, providingan insight into how their work had developed (beforeand after the workshop). They presented their work anddiscussed it with visitors.

Closure- at a closing reception attended by UNESCO representativesand local dignitaries, with the Minister for Women'sAffairs as the guest of honour, the participants eachreceived a UNESCO certificate.- a fashion show by designer Anggy Haïf, mixing textileswith plants, provided a fitting conclusion to the work¬shop.

g^W\7\t\on...

... closure

Follow-up

ThcL activities and teaching provided by each creativeworkshop, continues for the participants through, aninvitation, from UNESCO to participate as exhibitors inthe.SIAO (Ouagadougou Internatióriál' Craft; Exhibition),the. following year (2004). ;::::- r,--' '- -

For this. exhibition, the 'craftswomen are asked to useeverything they have learned fróm^the workshop in orderto show off their work, faceJhe comments and criticismof the public and buyers, and compete with other designers.

African women, who are extremely competent in traditionaltechniques and are still able td: practise and'-'dévélópthem, displayarrastonishing aniount bferiergy-and aninexhaustible désire to learn. in their.quest.for progressand siJccess::.: ''..;.../. '-;... " .With varying degreésof: practical: expérience, thesecraftswomen,' who^àre; instinctively ;busine5S-fninded,,long to perfect the very latest, craft techniques so thatthey can penetrate the markets that interest them most.They are. thus able to assert therhselves both sociallyand economically. .:.:V/':"r"" -

Workshops such as this,, offering. training, practicalexperience and the chance to share knowledge, respondvery spécifically.to the needs expressed by craftswomen."which are to: -. ;- .;-.-..--.:::::."..,.:.'. meet. others in the same situation as'themsclves andcompare problem's; .'.;.. ... ......:.: --..--.....-.-.enhance their knowledge and their.'own talent;".". .v.'".; have the benefit of outside, critical opiriions;:;.; build their. self-confidence and'dare to innovate."-.- .